Macbeth might not be Verdi's strongest piece, and sometimes sections rather jaunty music (ballet sequence) is bizarrely out of character with what is probably one of the darkest and unsettling plays ever written. Still, it is a remarkable work, and Abbado makes what is probably the best possible case for it. The sound is detailed and close.

But, of course, the success or failure depends on the singers, and I am happy to report that this DG version is very well cast. Cappuccilli has a very well-focused tone and his portrayal presents a haunting, anguished picture of Macbeth, and Verrett's Lady Macbeth provides a evocatively terrifying portrayal of Lady Macbeth to match (the important act 1 duet is - fortunately - a highlight of the set). The rest of the caset is fine as well - Ghiaurov as Banquo and Domingo as Macduff should, perhaps not unexpectedly, be singled out for praise.

This is, all in all, an easy recommendable (the Taddei/Nilsson recording with Schippers conducting is presumably the toughest competitor - Taddei and Nilsson might outperform Cappuccilli/Verrett, though actually not by a huge distance, but the rest of the cast, and especially the conducting, is generally superior on the Abbado set (admittedly: as far as I remember - it's been some time since I heard the Schippers set and since I don't actually own it, I am unable to make a direct comparison)).

Macbeth is my favorite opera. I have been listening to various performances of Verdi's Macbeth, both live and recorded, for over thirty years, and this recording is the best. Other recordings (I have 7 Macbeths) may have an equally strong Macbeth, Lady Macbeth, Banquo, Macduff, or conductor, and I will listen to them from time to time to single out a Callas, Scotto or Milnes. When I just want to hear the opera, this is the recording I come back to. Only this recording has no weak links!

Verdi's two greatest Shakespearean operas, Otello and Falstaff, are generally ranked atop Macbeth. However, few of Verdi's works are as rich and succulent in melodic line as this dark tale of the ill-fated Scottish king driven to destruction by his own tormented conscience. Additionally, this recording is the finest available today, with four of the optimum singers and one of the most inimitable Verdian conductors, assembled with the greatest of all Italian orchestras. Claudio Abbado leads the Coro and Orchestra del Teatro alla Scala with bombast; the Prelude is jarring and unsettling, beautiful in its own misty, eerie way. The brief overture immediately sets a cold, desolate scene upon which the morose drama takes place.

Piero Cappucilli gives one of his greatest performances, not only musically (though he is sublime) but also dramatically. He captures the character of the guilt-stricken Macbeth, accentuating his timidity and moral complexity, which was the root of his downfall and insanity. His greatest moment is during "Sappia la sposa mi ache, pronta appena" ... "Sulla metà del mondo," in which his every utterance is spellbinding. This is, despite its placement in one of his earliest operas, one of Verdi's most complex and captivating monologues, which drifts from evil hallucinations to an earth-shattering cry for Duncan's murder. Shirley Verrett is the epitome of the deceptive, self-righteous Lady Macbeth, the greatest villainess of all literature. She hisses through "Vieni! t'affreta! accendere!", her great Act I aria and one of the finest Verdi ever composed for the mezzo-soprano voice; she attacks "Or tutti sorgete" like a demonic "Sempre libera." Her rendition of "La luce langue" is foggy and dense; her performance of the drinking song "Si colmi il calice" is jovial and balmy. During the Act III scene "Una macchia è qui tuttora," the greatest and most infamous scene of Shakespeare's Lady Macbeth, Verrett is genuinely deranged as the horrid woman infected by her own greed, aggrandizement, and malice.

The other roles are fairly minor, which makes the star quality invested in them even more impressive. Nicolai Ghiaurov is a glum, brooding Banquo. His Act II aria "Come dal ciel precipita" is hauntingly pitiable and doomful. His Act I trio with Cappuccilli and the chorus of messengers ("Due vaticini compiuti or sono") is steeped richly in a marvelous Verdian charm. Plácido Domingo is sublime as Macduff, lord of Fife, who carries out the Weird Sisters' prophecy. His lone Act IV aria ("Ah, la paterna mano") is presented with excellent ingenuity and valor through its mournful atmosphere.

Verdi invested most of his efforts with this opera into the various choruses, which are supported ably by the La Scala orchestra. (The sawing basses and cellos during the witches' chorus "S'allontanarono!" is singularly chilling.) The finale of Act I ("Schiudi, inferno, la bocca ed inghiotti") is a deafening chorus of fury and vengeance which melts into a heart-wrenching ensemble of sorrow and supplication ("O gran Dio, che ne' cuori penètri"). "Sparve il sol...la notte stenda il vel," the satanic Act II chorus of the murders; "Tu, rospo venefico," the immortal cauldron scene with the witches concocting their brew; "Ondine e Silfidi dall'ali candied," through which the witches conjure aerial spirits and mythological creatures; and the jubilant Act IV finale "Macbeth, Macbeth, ov'è?" are all tiny masterpieces which precede many of Verdi's more famous (and infamous) ensembles and choruses.

Overall, this 1976 recording of Macbeth is a thorough luxury, and is even more enjoyable when coupled with Abbado's 1977 recording of Simon Boccanegra, which also included Piero Cappuccilli and Nicolai Ghiaurov.

I became familiar with Shirley Verret through this recording. The team of principals are excellent and Maestro Abbado is fantastic with the orchestra. This recording shows the unique and amazing artistry of Ms Verrett in one of her signature roles. She remains unsurpassed in this account. Brava!

This is probably Deutsche Grammophone's greatest release. From a 70's LP, this remastered recording stars Piero Cappucilli and Shirley Verrett as Shakespeare's most wicked couple- Macbeth and Lady Macbeth. At a bargain price, this is a real treasure. It is on the top lists of the greatest opera recordings ever made. Shirley Verrett is still hailed as the ultimate Lady Macbeth. Upon performing the role in La Scala for the first time, she was showered in jewels and carried over the shoulders of ecstatic fans to her limousine. As a bonus, this recording features Placido Domingo in the minor role of Macduff and Nicolai Ghiurov as the ghost of Banquo. Claudio Abbado, an Italian conductor, understands the complexity of the score but does not sacrifice melodic richness and the mix of sprightliness and ominious grandeur found within the score.

Piero and Shirley are on fire as Mr. and Mrs. Macbeth! Their scenes are full of fire and dramatic heft, their voices soar above the orchestra's fortissimi and they each provide a kind of dark, tragic granduer to their roles. Very few singers match their level of expertise. Perhaps only Leonard Warren and Leonie Rysanek in an earlier Metropolitan Opera performance equalled them in success. Cappucilli has a dark, edgy voice and even reminds me of Samuel Ramey, whom to my knowledge has not sung Macbeth but would sound a lot like Cappucilli. Furthermore, Cappucilli died recently and this is a tribute to his great artistry. Miss Verrett is awesome, and her renditions of "Vieni T'afretta," "La Luce Langue" and the Sleeping Walking Scene are among the best, ranking with Maria Callas, Leonie Rysanek, Birgit Nilsson, Elena Soliotis and Carol Vaness. Verrett claims she was initially afraid to get into such a dark frame of mind for the role but her voice is perfectly suited for this character, despite her origins as a mezzo. It is her Lady Macbeth that most people recall with fondness, eventhough Grace Bumbry, too, sang the role in Salzburg early in her career in 1964. However, I favor Verrett's Lady Macbeth over Bumbry's. Without a doubt this is a terrific Macbeth and you won't regret buying it. It is truly the definative version while others pale in comparison.